There is a strong theme (the historical plight of refugees and the
hope for a more unified world), there is an orchestra, there is a choir,
there is (most of) Hackett’s amazing band, there is Flamenco guitar,
there is flute and mandolin, there is Prog, there is Rock, there is a
mixture of styles, and yes, there is world music. And yet, there is
always Hackett’s unmistakable electric guitar.
“Behind the Smoke” starts the album gently with a flamenco-style
intro but soon turns into a massive grinding riff that suddenly,
mid-song, reveals Hackett’s intention to expose his world music
proclivities, with an eastern-sounding interlude. Soon enough, though,
the massive wailing Hackett electric guitar that we know and love,
returns to end the song. The second track, “Martian Sea”, is a
quick-paced, pop ditty that relies on Gary O’Toole’s cheerful and
up-beat drumming. It has a catchy hook and a nice Hackett solo. Again
the international influence is to be found in the sitar and violin
interludes, which sound more Eastern and Middle-Eastern than Martian.
“Fifty Miles From the North Pole” is a slow and solid track with a
James Bond-themed guitar sound. 007’s presence notwithstanding, the song
conjures images of icy, arctic travel undergone by our poor
protagonist, without the resources of “M”, nor indeed anyone else,
behind him. The solo is typical Hackett. The icy vocals are almost
spoken rather than sung, and the Eastern influences are insistently
present in the strings parts. One is just beginning to feel that the
song could have been edited to be half the length, when Hackett stamps
his authority with a great solo that could have been found on an early
Genesis record.
Tabla-like percussion (perhaps played on an acoustic guitar) hints
that “Anything but Love” might end up being pure world music, but
inexplicably, a typical Hackett acoustic guitar solo then gives way to a
pure and simple pop song that could be a top ten hit with the hook “But
you’ll never get away with anything but love”. It even has a harmonica
solo, and definitely sounds like BOC’s “Don’t Fear the Reaper”. It’s not
GTR, but it’s a great pop song.
“Inca Terra” starts as a slow and gentle ode with mythical lyrics
sung in pastoral harmony. It is the heart of the album, and given its
theme, one expects a Proggy direction, and that expectation is fulfilled
later in the song. At times it sounds almost like a Greek traditional
hymn (is that a bouzouki?), but then Hackett shows his roots with an
acoustic guitar flourish that leads into a complex and fast-paced
arrangement, climaxing in a huge Hackett solo that any Progger will
appreciate. Hints of classic Genesis in full flight appear towards the
end. A very good Prog arrangement indeed.
“In the Skeleton Gallery” has been performed live quite a few times
by now, While it is not an obvious “single” (does such a thing exist in
Prog anyway?), it seems at the start to be one of the more accessible
songs, but don’t be fooled. Slow and intense, it has a pleasing initial
melody, but expect a dark, eastern-sounding woodwind interlude, and a
quirky change of direction led by keyboardist Roger King. It then leads
into a heavy Prog instrumental arrangement built around that quirky
keyboard riff that also comprises the ending. King’s influence is strong
on this one.
“West to East” is another story of international alienation and the
need for the world to unite. While the instrumentation is suitably
precise and excellent, up to the standards expected of a musician like
Hackett, this song is all about the message. If you are opposed the exit
of Great Britain from the Union, or certain immigration policies
recently implemented by the US, expect to identify with these lyrics.
“The Gift” is a short instrumental closer that will please fans of
Hackett’s traditional guitar achievements. It is sad, lonely and
reflective and ends the album with due pensiveness.
Although not as immediately accessible as his most recent releases
times, due to the many directions taken, as well as the many world music
influences introduced, ‘The Night Siren’ is still a Steve Hackett
album, and it is one worth investing in. ‘The Night Siren’ is an album
with substance and an urgent message. Expect to be transported to the
East (or Middle East) from time to time, but expect your Prog hunger to
be satiated as well. Perhaps Steve Hackett’s darkest work, it still has
many great moments and reminds us we simply cannot ignore the fact that
Steve Hackett is indeed a living legend.
CD:
1. Behind the Smoke (6:59)
2. Martian Sea (4:40)
3. Fifty Miles from the North Pole (7:08)
4. El Niño (3:52)
5. Other Side of the Wall (4:01)
6. Anything but Love (5:56)
7. Inca Terra (5:54)
8. In Another Life (6:07)
9. In the Skeleton Gallery (5:09)
10. West to East (5:14)
11. The Gift (2:45)
Line-Up:
Steve Hackett – electric & acoustic guitars, oud,
charango, sitar guitar, harmonica, vocals (1 – 11)
Roger King – keyboards and programming (1 – 10)
Amanda Lehmann – vocals (1,2,3,6,7,8,9,10)
Christine Townsend – violin, viola (3, 4, 5, 7, 9, 10)
Rob Townsend – baritone & soprano sax, flute, flageolet,
quena, duduk, bass clarinet (1, 4, 7, 9)
Gary O’Toole – drums (3, 4, 10)
Nick D’Virgilio – drums (2)
Gulli Briem – drums, cajon, percussion (7,9)
Mira Awad – vocals (10)
Leslie-Miriam Bennett – keyboards (11)
Troy Donockley – Uilleann pipes (8)
Dick Driver – Double bass (3,4,5,7)
Nad Sylvan – vocals (7)
Kobi Farhi – vocals (10)
Benedict Fenner – keyboards and programming (11)
Jo Hackett – vocals (10)
John Hackett – flute (2,10)
Ferenc Kovács – trumpet (3)
Sara Kovács – didgeridoo (3)
Malik Mansurov – tar (1)

“Memento” (DiN52) is the fifth DiN CD collaboration between label
boss Ian Boddy & renowned composer and touch guitarist Markus
Reuter. They were there at the birth of DiN in 1999 with their inaugural
release Distant Rituals (DiN2) and this latest work not only
affectionately looks back to that album but forges ahead into new
musical territory.
The album opens with the powerful tour de force of “Gyroscope” with
its ever evolving guitar arpeggios and thunderous percussion. The
following track “Spindrift” has a mysterious harmonic feel highlighted
by Reuter’s beautiful guitar playing & Boddy’s ambient production.
“Linger” & “Stay” form a pair of soundscapes where Reuter’s guitar
loop ambiences are intermingled with extraordinary analogue textures
from Boddy’s Serge modular synthesiser. The former provides a breathing
space within the album after the two opening tracks whereas the latter
brings the CD to a gentle, drifting close. The title track hearkens back
to the duos first collaborative album with it’s pulsing cut up
treatment of a Reuter guitar loop soundscape and perhaps informs the
listener as to the nature of this “Memento”. Although Boddy often keeps
in the background in terms of lead solo work when working with Reuter
the track “Deadlock” features an Ondes Martenot style synth line that
soars above this dark emotionally laden piece.
Once again Reuter & Boddy have proved to be a potent musical team
with their balance of styles producing a complex, deep album.
Effortlessly crossing genres between prog and ambient electronica it not
only looks back to their roots but creates new sonic landscapes for the
listener to explore.
Track listing:
01 Gyroscope (07:45)
02 Spindrift (06:56)
03 Linger (06:24)
04 Memento (06:31)
05 Vermilion (09:08)
06 Deadlock (09:34)
07 Stay (06:26)
Total Time: 52:58
All tracks composed, played & produced by Markus Reuter & Ian Boddy (September - November 2016).
Mixed by Ian Boddy & Markus Reuter (November 2016).
Mastered by Ian Boddy @ DiN studio (December 2016).
Markus Reuter:
Touch Guitars® AU8, 6-string Electric Guitar, Looping, Programming
Ian Boddy:
Serge & Eurorack Modulars, Moog Voyager, Ableton Live running NI
Kontakt, Spectrasonics Omnisphere & Camel Audio Alchemy

Review – Djam Karet – Sonic Celluloid – by ProgradarDjam Karet (pronounced ‘jam care-RAY) is an Indonesian word that translates loosely as “elastic time”.Djam Karet was founded in 1984 by guitarists Gayle Ellett and Mike Henderson, bassist Henry J. Osborne, and drummer Chuck Oken, Jr.,
and continue making new music even to this day, 33 years later! So far …
they have released 18 full-length albums, including the newest release ‘Sonic Celluloid’ (as well as an additional 24 minor releases and EPs and compilations, see the discography).
Compared by the press with King Crimson, Pink Floyd, The Grateful Dead, Ozric Tentacles and Porcupine Tree,
they are credited with breathing new life into progressive rock,
leading the way to the genre’s future growth. The California-based
instrumental group has often been called America’s greatest undiscovered
band.
To my ears this most inventive of bands has always been a psychedelic
instrumental sounding board and their musical ideas have always
expanded and evolved to give the listener a real Smörgåsbord of acoustic
delights. When Gayle asked me if I would be interested in reviewing ‘Sonic Celluloid’ it was a definite no-brainer!Sonic Celluloid includes all four founding members of Djam Karet: Chuck Okenjr, Henry Osborne, Mike Henderson, and Gayle Ellett, as well as Aaron Kenyon and Mike Murray.
All six play (to varying degrees) on the new album. Everyone
contributed as much or as little as they wanted to, with the huge bulk
of the work being done mostly by Ellett and Oken.
This new release is as cinematic as they come, little musical-movies running in your mind as you listen to the tracks, opener Saul Says So has
a really electronic, 70’s sci-fi feel running throughout. Quite dark
and moody in style at the start, it has you on the edge of your seat
before it opens up into something akin to a psychedelic revelation, only
one that is experienced in a supremely leisurely fashion. It seems to
float across your synapses, leaving a gentle memory everywhere where the
intricate guitar playing touches your mind. Forced Perspective takes
that soundscape and leads it on a convoluted, meandering journey with a
Southern California vibe, edgy drums, funky bass and super smooth
electronica transport you to vast landscapes of sound in your mind.
There’s more of that psychedelia that I come to expect from this
exceedingly expressive band, I just close my eyes and let the music wash
over me. It brings to mind independent art movie soundtracks, cerebral
music for the connoisseur.
The muted classical music inspired intro to Long Shot makes the hair stand up on the back of my neck. Subdued minimalistic synths bring to mind Jean-Michel Jarre and even a touch of early Kraftwerk to the 70’s nostalgia reunion that is going on in my mind. I begin to think of films like ‘Invasion of the Body Snatchers’ as the track evolves into a kind of Prog inspired sci-fi melodrama. It really is an intricate sepia-tinged cinematic delight. No Narration Needed starts
with a full-on free form jazz trumpet before the music takes on a more
suspenseful tone layered with atmospheric keyboards and electronica.
There’s a timeless aura to this track, like a primordial beast that has
lived across epochs and never notices the short lived lives of the
pitiful humans who inhabit its planet. A medieval sounding guitar and
flute then punctuate the stillness to add a layer of calm and
collection. This is a track that engenders meditation and reflection and
has dignity and character at its core. There are some great titles to
the tracks on this release, Numerous Mechanical Circles being
one of them and it is a musical composition that seems to grow around
you, the flute sounds and electronic synthesisers forming a symbiosis
with an almost alien quality to it. It moves across your mind in a slow
but sure manner, all the time in the world to achieve its purpose. I can
sense a slight apprehension in the occasionally caustic keyboards and
the hesitant voice you hear in the background has a spooky, mystical
ambience to it, it is disturbing but in a very enjoyable way.
The sounds of waves and seabirds opens Oceanside Exterior,
a rhythmic and meditative piece of music that flows through space and
time and engenders images in your mind of powerful oceans braking on
immovable rocks, time and space standing still against the majesty of
nature. This is music as an elemental force but one that has no need to
be brash and in your face. The incredibly laid back guitar playing is
utterly addictive and is best experienced through a pair of high-end
headphones with a great quality glass of wine in your hand. 70’s synths
come back strongly on Au Revoir Au Reve, a
strong sentimental note can be felt all over this wistful track. Dreamy
and fanciful with a Gallic undertone, you could be walking the streets
of 1950’s Paris, a suavely dressed detective in the seedy underbelly of
this great city. The plaintive guitar is full of angst, perhaps railing
against an unsolved crime, who knows but you feel the pain. A masterful
piece of music that, once again, has your furtive mind working overtime.Pink Floyd guitar notes are very evident at the opening of Flashback,
a more hard-edged track that has an incredible depth to it, like it has
survived eons in the primordial soup of creation. It seems to be
treading water, awaiting what, we don’t know. There is a timeless
grandeur and stature to every note, especially when the powerfully
cultured guitar breaks out. The synths are the stage on which Gayle’s
fiery, blues infused guitar takes centre stage. Lower has
a post-rock gravity to it, the elegant keyboards glide around you as
the mournful guitar tells its seemingly grief stricken tale. A soulfully
forlorn piece of music that propagates a sombreness deep in your heart
and soul and moves you inside. Another excellently titled track closes
out the album, The Denouement Device is music
that stimulates a sonic journey for your body and soul, music that will
have differing effects on different people. Intense and thought
provoking, a wide-ranging and all-encompassing sound that fills your
entire being with a feeling of wonderment and lets you see things with a
childlike innocence. Genuine, contemplative and thoughtful yet it
treats you with kid gloves as it strips you of any pre-conceived ideas
and back to your bare soul.‘Sonic Celluloid’ is yet another triumph for this ever
inventive band. An intricate instrumental tour-de-force that takes the
listener on a cinematic journey through ever-evolving soundscapes
engendered in their own mind. Djam Karet are the
masters of cerebral, intelligent music for the erudite listener and have
delivered a superlative musical odyssey once again.

Review from The Obelisk:
Having proffered tonal sweetness and instrumental heavy psych groove
since their self-titled debut made its way to the ears of an eager
European scene in 2006 via Elektrohasch, the German four-piece My Sleeping Karma make a jump to Napalm Records for the release of their fourth album, the CD/2LP Soma.
If one that’s going to bring them to the attention of a wider audience,
it’s also a move for which they’re ready. Their last album, Tri (review here),
was released in 2010 and found the band focusing on various aspects of
Hindu theology, using the names of gods as themes running throughout the
mostly instrumental tracks. With the prior Satya (review here)
in 2008, it was Buddhism at the thematic fore.
Musically, they’ve
remained consistent despite working through these varied conceptual
influences – you could hear Seppi’s guitar tone on the debut and on the latestand recognize the same smoothness in it then as now, though what he’s playing is more developed – and Soma takes
for its basis the Hindu drink of the gods that shares its name. Each of
the 55-minute full-length’s six central, mostly extended (six minutes
and up) tracks is named for an “ingredient” in the soma, and each is
also companioned by a transitional interlude, making the album as a
whole an 11-track CD, beginning with “Pachyclada” and ending with
“Psilocybe,” as each pair of songs between is separated by and
interlude. This would be, at worst, a disruption of Soma’s progression, were it not for the fluidity of the material itself. If My Sleeping Karma
wanted to base their fourth album around a drink, they did right in
choosing something liquid, as there’s no better descriptive basis for
the songs themselves – they flow as a liquid would, to be clearer about
it. Rather than distract from that process, the interludes add to it,
bolstering an already rich atmosphere and adding instrumental complexity
and ambient vibing to the ebbs and flows within the more expansive,
dynamic tracks. On any level you could want to evaluate it, Soma is
a triumph in how it accomplishes the task it sets for itself – tonally,
atmospherically, engagingly. It crafts memorable parts serving a
greater whole and to call it manna doesn’t seem inappropriate (however
disparate the cultural basis might be for doing so might be) given My Sleeping Karma’s otherworldly psychedelic range.
Most of the elements at work musically on Soma will be familiar to those who’ve experienced My Sleeping Karma’s
sweetly-honed jamming before. Their apparent methodology remains
consistent despite the varying themes – they jam – in a variety of moods
and vibes, perhaps, but they jam nonetheless. Songs like “Pachyclada,”
“Ephedra” and “Eleusine Coracana” are not without their structures,
their peaks and valleys, but they have a direction underlying their
largely open-feeling development. At an even nine minutes, opener
“Pachyclada” is the longest piece on Soma (immediate points tallied to whatever scope might be kept) and sets the tone for what follows with strong hits from drummer Steffen punctuating the prevalent bassline of Matte as Seppi’s guitar gradually swells to prominence.
One thing My Sleeping Karma has always done well is craft a chorus out of the instrumentation, and Seppi
is quick to establish that of “Pachyclada” in a flicker of a lead that
returns as a sort of mini-theme within the song itself, cycling through
several times in the first half before a heavier tangent emerges in the
second, still keeping to the same kind of idea, but turning it into a
build that reaches a satisfying apex before calming and riding out, Norman’s
keys adding proggy swirls and a sort of howling tonality to complement
the guitar. From its very beginning, the song is rich and encompassing –
on headphones its pull is even greater – and the rainy transition it
makes into the first of the album’s five interludes is no less smooth
than anything on “Pachyclada” itself. The interludes are a point of
interest both sonically and conceptually, as they manage to be vastly
different among themselves while also tying the material before and
after them together. The one between “Pachyclada” and “Ephedra” is Seppi’s
guitar alone, echoing layers of simple sweetness, but to contrast, the
later interlude between “Saumya” and “Somalatha” is key-led, almost
trip-hop in its construction, so there’s more at work there than just
moving from one track to the next. With drums at the fore between
“Ephedra” and “Eleusine Coracana” and Matte’s bass accompanying birdsong between “Eleusine Coracana” and “Saumya,” it’s as though each member of My Sleeping Karma was
given an interlude of their own, finally culminating in the
breathing-topped, beating-heart contemplative minimalism of the
interlude between “Somalatha” and closer “Psilocybe.”

Planets + Persona, the 2017 studio album from Richard Barbieri, is the
most sonically expansive work to date from the former Japan and
Porcupine Tree keyboard maestro.

The album combines vintage analogue synthesisers with acoustic
instrumentation, and incorporates Jazz elements, pitching Barbieri's
unique sound designs against improvisations from a personally
hand-picked group of guest musicians that includes Percy Jones, Luca
Calabrese and Lisen Rylander Love.

As on Stranger Inside, manipulated voices (mainly courtesy of Rylander Love's real time experiments) are present.

Recorded across Europe in studios in London, Italy and Sweden,
Barbieri's third album is without doubt his most ambitious solo release
to date.

Highlighting the album's central theme of duality, the artwork on
the 16 page booklet features photographic scenes of dramatic Icelandic
landscapes.